The setting was the first clue – a huge theatrical backdrop down the centre of the runway (splitting it in two) on which were projected a terrace of grand houses with open doors, showing glimpses of glossy interiors and huge chandeliers. The projection changed throughout to show sepia toned
Then the clothes: steely grey zibeline suits (a traditional old world couture fabric with a gleaming rather than glossy finish generally used for quite stiff suiting) were cut in slim three quarter length jackets and cigarette pants made modern by being scissored off at hip and knee leaving ragged hems. The projected themes from an old world Miami beach were worked afresh into printed ladylike tunic tops, trapeze line jackets were cut in cloqué (another classic couture fabric that is also quite stiff and heavy) but a version so light it was almost transparent. Underneath there were some dubious silky running shorts (scarily like the ones the guys wear in the 118 118 ad…I kid you not). And then those projected chandeliers came to life as crystal trims on simple shifts or sweaters, and gradually became sparkling dresses. A tribute to 1960’s futurism, but Prada style, pumped up on steroids. And as they jingled down the runway, it was hard not to think “and she shall have music wherever she goes”.
5 things we loved
1. the zibeline shift printed with flowers and zibeline grey slim coat
2. the crystal chandelier dresses
3. the transparent cloqué trapeze jacket
5. the crystal trimmed clear plastic shoes